Stuttgart Ballet: Novitzky/Dawson
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
Excellent dancing, good choreography, efficient storytelling. And specially commissioned music. All rather impressive for a first outing by Ballet MAR
The standard was uniformly high although, as in the past couple of years, it was the men, who got two pieces all to themselves, who thrilled
Forget any preconceptions you might have about ‘children’s ballet’… a stunningly professional show… a super evening’s entertainment.
Ahead of its extensive UK and overseas tour, David Mead talks to London City Ballet artistic director Chris Marney about the company’s relaunch.
What one remembers from this Carmen are the ensemble scenes. I don’t know what they were on, but their energy and stamina were incredible
The highlight was Olivia Chang-Clarke’s new Melody in Three. While classical through and through, dotted throughout are quirky moments that make you smile
The ensemble of eight graduate dancers aged 18-23… brims with talent… a fabulous evening, one filled with energy, passion and fine dancing.
Most fun was Arthur Pita´s Death Defying Dances. Full of dark humour and fabulous music, it is an absolute delight.
A wonderfully varied, enjoyable evening that mixed out-and-out classical ballet with contemporary dance, although Oslo-based NNB2 had the edge
A programme designed to show “What we are, who we are, and to give a taste of what we do.” A fine evening of high-quality dancing